I was worried before I saw the play 'The Seven Storey Mountain', thinking I don't really want to see a play about Thomas Merton. He probably wouldn't have either, ideally. Then it isn't. It's more about us and it's about our relationship to what he may or may not have thought about. It's its own thing completely.

I don't like going to cities. I don't mind maybe being in a city sometimes for a few hours, but I pretty much don't like cities. I don't even like passing through them.

There are a limited number of promoters out there who care about creating music. You rarely meet a promoter who's like, "I want to be responsible for the best shows, I want to make sure that these are the best shows these audiences have ever seen."

If I give a little hint or clue as to where my voice could be going, that would [be] read. Because people can listen closely, you know, you can sit with headphones or you just concentrate on music, you can just hear, sometimes, the desires of the voice itself.

Writing songs is a profession; so it's not an attempt to take things from my interactions with other people and for some reason give them to a total stranger to listen to. I find it offensive to hear other people do that.

Sometimes the ensemble 'Eighth Blackbird' will have performances and invite me to be a featured soloist. I think that is what they call it in that world-"featured soloist."

Making money is awesome and fun as hell, but they're saying, "Well, you're offered a whole lot of money to do this," and it's like, well, I do want the money, but I don't really do that - like headline a big festival or something like that. I could go there and do that, but it isn't really what I do. It feels weird to me.